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La-La Land Records' HOOK (2CD Expanded) Discussion thread

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I would love to have them all

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I would love to have them all

I am sure everybody here would love to have everything from Hook if it was possible.

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I can't believe we literally have an almost complete Hook, and people are bitching. It's almost unbelievable to me. Seriously, if only film stems are available, what can LLL do about it?

And i can't believe grown men cannot grasp that a well-reasoned disappointment over lost master tapes for the most important set piece is not a court-martial for the label releasing film stems. It just sucks, however you look at it. Period.

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Of course. We aren't bitching about releases and the labels. We are bitching about film and music conservation. LLL is complaining too. After all they're just like us, but with a label.

Chaac, Captain Obvious!

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So, if one wants to put the tracks in chronological order (or as close to as possible) without doing any editing, which tracks need to be moved around and to where?

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If you don't want to do any in-track editing, all you gotta do is swap Wendy Tells Peter The Truth with A Portrait Of Wendy, move Hook's Blues to before Smee's Plan, and move When You're Alone to after The Never-Feast.

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What about "Exit Music"?

It should go after End Credits. It was originally the final part of the End Credits until it got replaced by material edited from other parts of the score.

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William's original intended end credit arrangement is:

"End Credit" -> Lost Boys Ballet (with a separetely recorded segment to end the cue early) -> "Exit Music"

In the final film, they replaced his intentions with:

"End Credit" -> Lost Boys Ballet (microedited and with the pick-up ending) -> segment tracked from "The Arrival Of Tink" -> segment tracked from "Farewell Neverland"

Since the question was about re-arranging without doing in-track editing, there was no reason for me to mention Exit Music. The listener can place it wherever he desires :)

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William's original intended end credit arrangement is:

"End Credit" -> Lost Boys Ballet (with a separetely recorded segment to end the cue early) -> "Exit Music"

In the final film, they replaced his intentions with:

"End Credit" -> Lost Boys Ballet (microedited and with the pick-up ending) -> segment tracked from "The Arrival Of Tink" -> segment tracked from "Farewell Neverland"

Since the question was about re-arranging without doing in-track editing, there was no reason for me to mention Exit Music. The listener can place it wherever he desires :)

True. In my opinion the LLL set has the Exit Music well placed to close the entire experience at the end of disc 2.

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Yea, if they weren't going to duplicate Williams intentions and drop the film's hack job end credits entirely, ending the entire set with it is absolutely perfect!

They picked a glorious take of the piece as well, even better than the take used on the old boots

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I disagree with the term 'hack job', it's actually a fairly well-assembled suite. Now, Star Trek: Nemesis, THAT's a hack job. :P

Ok, question regarding what you said earlier - in the LLL take of 'Wendy Tells Peter The Truth', there's a cough that the film take doesn't have. Was that take unavailable, or what?

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Thanks Jason. I might bore you with such questions in two weeks but you must be happy that this music that you obviously like so much has been released like this so we can bore you with questions :lol:

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I disagree with the term 'hack job', it's actually a fairly well-assembled suite. Now, Star Trek: Nemesis, THAT's a hack job. :P

True, it is a rather nice assembly. I shouldn't have said hack-job, I mean for all we know Williams oversaw and approved it! I just meant that it was editorially created by using existing music, rather than recording something new.

Ok, question regarding what you said earlier - in the LLL take of 'Wendy Tells Peter The Truth', there's a cough that the film take doesn't have. Was that take unavailable, or what?

Beats me

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So the End Credits track in the LLL CD follows the film? Seems easily fixable. The LLL track might make a nice "edited suite" at the end of my secondary playlist.

Damn, I promised myself not to think on this until I had it. Ah, the wait...

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Thanks Jason. I might bore you with such questions in two weeks but you must be happy that this music that you obviously like so much has been released like this so we can bore you with questions :lol:

I don't mind answering questions about my favorite score :)

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Damn, I promised myself not to think on this until I had it. Ah, the wait...

The wait is already killing me... :)

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It's funny to me that they actually mention the pitch of the prologue in the liner notes: "...this presentation plays at a slightly slower speed (and lower pitch) than the music heard in the actual teaser."

Interesting.

Oops - I missed where that was already mentioned. Carry on... :)

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This go-round, I'm noticing how closely in style much of Hook is related to Last Crusade. The similarities to Home Alone have always been obvious to me, but I'm hearing a lot of LC mannerisms today (which is awesome).

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Quick question: Is Rufio's theme included?

Yup in the From Mermaids To Lost Boys track, just like the Concorde boot

The only thing that was on the old boots that isnt here is the Never-Feast insert

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So with what is on the CD, it is fairly easy to reconstruct Williams's original intentions for the End Credits?

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What about the orchestral music at the end of "Never Feast Second Unused Long Version" that's used instead of the When your Alone song (on the concorde boot)

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I believe that would be the "Believe Your Eyes" cue that is restored to its original place at the end of "Smee's Plan."

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Trent in Utah received his copy today, pretty speedy shipping.

So Trent what do you think of the packaging, artwork, etc?

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Trent in Utah received his copy today, pretty speedy shipping.

So Trent what do you think of the packaging, artwork, etc?

Yeah any comments on art and liner notes?

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So with what is on the CD, it is fairly easy to reconstruct Williams's original intentions for the End Credits?

Seems to be. I'm certainly going to try.

How the hell did Trent get his so quickly? I'm in the same state as LLL and I didn't get it! *mock-anger*

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This go-round, I'm noticing how closely in style much of Hook is related to Last Crusade. The similarities to Home Alone have always been obvious to me, but I'm hearing a lot of LC mannerisms today (which is awesome).

You're right; there's a lot of stylistic overlap, almost as though Williams had the same mischievous gleam in his eye as he penned each score.

And you just gotta love that lush, generous melodicism that pervades his work circa 1989-1993.

I can't believe we literally have an almost complete Hook, and people are bitching. It's almost unbelievable to me. Seriously, if only film stems are available, what can LLL do about it?

And i can't believe grown men cannot grasp that a well-reasoned disappointment over lost master tapes for the most important set piece is not a court-martial for the label releasing film stems. It just sucks, however you look at it. Period.

Tout est pour le mieux dans le meilleur des mondes.

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Trent in Utah received his copy today, pretty speedy shipping.

So Trent what do you think of the packaging, artwork, etc?

The packaging is beautiful. Jim Titus' artwork is stellar as always.

The back tray is the image that was used for the OST, while the front cover we know what it looks like. The inside back tray is a picture of Smee from the "Ultimate War" portion when he's saying, "Time for....Smee", smiles and starts putting Hook's treasures and gold down his pants. The picture on Disc 1 is of Peter (in the Pan outfit) and Disc 2 is the picture of Hook. The liner notes are very well done, similar to a track by track analysis that Jeff Bond has done for the expanded Star Trek releases.

The overall quality too for the score is pretty good, except for the unreleased Ultimate War segments. As we know the original elements for that unreleased portion could NOT be located. However, it's better than not having them at all. I'm sort of disappointed that the cues from the OST were retained for this set, especially for "We Don't Wanna Grow Up". I was hoping that would have been pulled from the film stems and added on as a bonus track, similar for the film version for "Banning Back Home".

Honestly, I was expecting this to show up by either tomorrow (Friday) or Saturday. I was pleasantly surprised to see it sitting in the mailbox when I checked the mail this evening after getting home.

If anyone wants any pictures of the whole packaging details I'll be happy to take some pictures tomorrow.

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This go-round, I'm noticing how closely in style much of Hook is related to Last Crusade. The similarities to Home Alone have always been obvious to me, but I'm hearing a lot of LC mannerisms today (which is awesome).

You're right; there's a lot of stylistic overlap, almost as though Williams had the same mischievous gleam in his eye as he penned each score.

And you just gotta love that lush, generous melodicism that pervades his work circa 1989-1993.

Definitely. It is amazing how effortless and joyous Hook, TLC and other works around that period sound.

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Listening to the samples again....

The Ultimate War sounds much better than the old rips! its a revelation!

And its great to finally have "Hooks Madness"/"The Clock Museum" in clear quality!

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The Ultimate War sounds much better than the old rips! its a revelation!

And its great to finally have "Hooks Madness"/"The Clock Museum" in clear quality!

You already have the album?

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